I must admit, there was a period in the '60s where Britain was running things. But if you look at the last couple of decades it kind of fell off — the art school thing seems to have not necessarily worked so well for British music. I mean, there's been good things, but if you look at the profile of British music in America, you have Adele and Coldplay —

—MUMFORD & SONS.

Yeah. I mean, there was a time when Britian had a disproportionate role in rock, didn't it? The sort of — the '60s and a good chunk of the '70s.

BY THE LATE '80S AND EARLY '90S, PEOPLE SEEMED TO REALLY BE TRYING TO PUSH BRITISH MUSIC IN AMERICA, AND IT DIDN'T WORK, LIKE "HOW CAN WE MARKET JAMES IN AMERICA?"

Suede were one of the really big failures. I did a thing for Melody Maker about it, I'd just moved to America and I could see that they weren't going to fly. They'd come from doing huge shows in massive venues in Britain to much smaller venues in America, and the audience was curious but not at all pre-converted.

Something happened to British rock, I think. It lost its rhythm. Less and less bands with good drummers, whereas every band in America that gets anywhere has a great drummer. Like Green Day has a great drummer. I don't really like Green Day, but that drummer is great. American bands always need a decent rhythm sections; but, in England, I think that anyone with any sense of rhythm went into dance music.

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